In a splendid concert Nov. 11 the Music Teachers Association of California, Sonoma County Chapter, presented their sixth annual benefit concert before 40 avid listeners in the Santa Rosa home of Helen Howard and Robert Yeats.
Highlights of the performances, involving eight musicians in various perf...

Returning to Weill Hall following a fire-related recital cancellation in 2017, pianist Peter Serkin programmed just three works in his Nov. 7 concert, three masterworks that challenged both artist and audience alike.
It needs to be said at the outset that Mr. Serkin takes a decidedly non-standard a...

Familiarity in chamber music often evokes warm appreciation, and it was thus Nov. 7 when the Chicago-based Lincoln Piano Trio made one of their many Sonoma County appearances, this time on the Spring Lake Village Classical Music Series.
Regularly presented by local impresario Robert Hayden, the Lin...

Before the Santa Rosa Symphony’s Nov. 4 performance of Leonard Bernstein’s “Symphonic Dances from West Side Story,” Symphony CEO Alan Silow took a moment to acknowledge the victims of the Pittsburgh synagogue attack and to observe that music offers a more peaceful and loving view of the world.
Mr. ...

When the ATOS Piano Trio planned their all-Russian touring program at their Berlin home base, it had a strong elegiac, even tragic theme that surely resonated with their Mill Valley Chamber Music Society audience Nov. 4 in Mill Valley.
Comprised of Annette von Hehn, violin; Thomas Hoppe, piano; and...

When the Berlin-based ATOS Piano Trio entered the cramped Occidental Performing Arts stage Nov. 3, the audience of 100 anticipated familiar works in the announced all-Russian program. What they got was a selection of rarely-plays trios, with a gamut of emotions.
Then one-movement Rachmaninoff G Mi...

Just two works were on the opening program of the Marin Symphony’s 67th season Oct. 28, Tchaikovsky’s iconic D Major Violin Concerto, and Shostakovich’s Tenth Symphony.
Before a full house in the Marin Center Auditorium conductor Alasdair Neale set a judicious opening tempo in the brief orchestra i...

The Venice Baroque Orchestra, a dozen superb musicians that include strings, harpsichord and recorder, played an uplifting concert Oct. 27 of mostly Vivaldi sinfonias and concertos. The Weill Hall audience of 600 had rapt attention throughout, and the playing was of the highest musical level. This r...

In somewhat of a surprise a sold out Schroeder Hall audience greeted pianist Steven Lin Oct. 21 in his local debut recital. Why a surprise? Because Mr. Lin was pretty much unknown in Northern California, and Schroeder is rarely, very rarely sold out for a single instrumentalist.
But no matter, and...

The strong connections between Santa Rosa’s musical community and California State University Chico were on display Oct. 12 as David Rothe, Professor Emeritus in the Chico Music Department, and Ayako Nakamura, trumpet with the North State Symphony, presented a concert titled “Heroic Music for Trumpe...

BRILLIANT HAYDN SONATA HIGHLIGHTS YARDEN'S JUNE 9 OAKMONT RECITAL

Oakmont’s popular concert series, now in its 20th year, usually programs just two pianists in a 12-concert season. However, producer Robert Hayden’s eclectic taste guarantees that the selected pianists will play provocative works, and it was again so June 9 when Israeli artist Einav Yarden presented a bifurcated program before 150 in Oakmont’s Berger Auditorium.

In an admirable first half, Ms. Yarden began with the 11 Beethoven Bagatelles, Op. 119, a change from the announced Op. 33 Bagatelles. These are amazing works, a few just 15 seconds in lengths, and encompass snippets of the Bonn master’s endless invention. Many feature a light staccato touch in which the pianist excels, but others (the fourth and tenth) are fast, scattered and insistent. Ms. Yarden caught the ephemeral nature of the works, presenting a conception that nothing additional needed to be said about each.

Seven of Bartok’s 14 Op. 6 Bagatelles followed, obviously harmonically different than Beethoven but also requiring quick tempo changes and clear articulation. The atmospheric third Bagatelle was followed by dramatic marching chords in the fourth and virtuosic heraldry in the final seventh. Ms. Yarden made the dissonances, perhaps grating even at their composition in 1908, seem of a piece and natural. The pianist can float a lovely pianissimo when the music demands. It was a strong performance and drew fulsome applause.

Haydn’s D Major Sonata, Hob. XVI: 24, completed the first half and received a masterful reading from the pianist. The opening Allegro featured a quick tempo, distinctive lines and chaste pedal. Ms. Yarden’s finger staccato added clarity and Haydn’s humor and charm were in evidence throughout. Mention must be made of the pianist’s wonderful scale playing, even in difficult hand positions and where off-beat accents are called for in the score. The slow movement (Adagio) had a sense of mystery and the pianist’s even trills and control of balances were exemplary. The right-hand runs in the finale were brilliant, the legato used in some scales for contrast. A deft touch. It was for this reviewer the best Haydn Sonata played in the local area in years, and the highlight of the recital.

Two Schumann songs in Liszt transcriptions opened the second half and were less than congenial for the pianist. The Frühlingsnacht, from the Liederkreis, Op. 39, No. 12, gave the pianist technical trouble, albeit with a judicious tempo that allowed subtlety. There was no shimmering magic in the repeated chords. The celebrated Widmung transcription, in the first of two versions Liszt wrote, was tentative and in the declamatory sections brittle and lacking fervor.

Closing the recital was Schumann’s great C Major Fantasie, Op. 17, one of the glories of 19th Century romantic pianism. Here Ms. Yarden was more in her element, giving a performance of abundant character without being really memorable. The first movement was played at a moderate tempo and with command, but the dynamic extremes needed to underline what Schumann said were his most passionate utterances were missing. The final resolution into C Major, at a place the pianist Moritz Rosenthal said only occurred just before the allusion to a Beethoven song, was tender and properly lingering.

The middle march movement was not tentative but was also not orchestral, the pianist choosing to underplay the marcato elements. It was not a note-perfect movement in the coda but the perilous contrary-motion skips prior to the final three chords were taken with precision and speed. In a middle-of-the-road performance Schumann’s exaltation with ardor and pianistic sound were absent.

The sonorous finale was had the requisite flow and both of the climaxes had power and led inexorably to the quiet postlude. Here the concert piano almost seems to lack hammers and Ms. Yarden brought forth the most tonal colors and musical contemplation of the afternoon. After many seconds of silence a standing ovation greeted the conclusion of the Fantasie, but no encore was offered.

Ms. Yarden, in her first extended tour of Sonoma County, appeared on the Charles Sepos KRCB “Curtain Call” program June 10 and in a posh private recital for Concerts Grand June 11 in Santa Rosa.